I admired what my students were writing, but I think their improvement doesn't directly result from me but from being in a class, being with each other.
I deliberately decided to write a kind of guide to leather bars for straight people, for people not into leather, so that people could see what it was all about.
I deliberately wrote a poem in my last book where I was suggesting that there are other passions as great as or more important than the passion of sex.
I had assumed that I would age with all my friends growing old around me, dying off very gradually one by one. And here was a plague that cut them off so early.
I notice that students, particularly for gay students, it's too easy to write about my last trick or something. It's not very interesting to the reader.
I try not to observe myself in the process of composing a poem because I don't want to come up with a formula, which I would then be unscrupulous in using.
I was at a benefit for some imprisoned students in the '60s at San Francisco State, and there were lots of poets reading for the benefit: one was Elizabeth Bishop.
I was reading the poems of Rochester. Rochester made himself out to be bisexual, but I think that was only to shock. Most of his poetry is sexual, even pornographic.
It was difficult being a teacher and out of the closet in the '50s. By the time I retired, the English department was proud of having a gay poet of a certain minor fame. It was a very satisfactory change!
